Gliding close to genre tropes but moving more comfortably as an uneasy drama about the alarming power of blind faith, The Other Lamb is an intriguing mood piece, strikingly made and well-performed if not quite as powerful as it could have been.

It’s a gentle, predictable film that doesn’t exactly put any steps wrong in its depiction of adolescence but Orley doesn’t quite do enough right for it to linger in the memory for longer than the credits.

I find myself admiring his visual and compositional sense, while being a bit exasperated by the provisional and coyly non-committal nature of his storytelling.

Lost Girls is sorely lacking and, ironically, one wonders what a Garbus docuseries could have found instead.

The film is, I think, just as Cunningham would have wanted it: cerebral, highbrow and mildly frustrating, with nothing so conventional as talking heads or context.

Lowish-level titters are in evidence – mostly care of Kristen Schaal as Dave’s tech aide – while an analogue finale on a scrappy-looking airfield offers passing respite from the multiplex’s usual VFX-bloated city smashing.

The physicality of this picture is exciting.

Inspiring until the end if not entirely entertaining.

This movie is an absorbing serio-comic flourish.

There are baffling shunts from town to country, while the middle stretch tosses up scenes with no real function or punchline.

A grisly, gripping watch.

The Perfect Candidate is the sort of film I can imagine getting a remake in contemporary America or Britain, with not as many changes as we might assume.

It’s a technically impressive work with some lovely images — and a bit of a sugary taste.

The formula is so well-trodden that it needed a sparkling jolt of energy to justify Penny traipsing his way through it again. Uncorked isn’t exactly corked but it’s definitely flat.

It’s as involving as it is necessary, a rare ray of sunshine on yet another cloudy day.

There’s a brutal efficiency to the storytelling, swiftly, heartlessly propelling us up and down the building, forcing us to bear witness to a great many horrors.

The film is at its most intriguing in its earlier half, when it simply takes you through the growing excitement within the scientific community as the reality of Crispr emerges.

I was sometimes captivated but often frustrated by this epic essay-film, a meditation on Germany and his own family history that is stark, fierce, austerely cerebral and almost four hours long.

Aside from the singular brawn of its leading man, this would-be springboard has nothing much worth launching. It’s a stack of wormed-over action tropes, and to make matters worse, the movie knows it – and yet does not know enough to spare us its missteps in the first place.

In making the worst stereotypes of America’s political poles as extreme as possible, and America’s divide as literal and violent as possible, The Hunt feigns a viewpoint rather than actually having one. It takes aim at everyone, redeeming no one. Which feels circular, and queasy, and right back where we started: some empty talk about a divided nation, and a film thats probably not worth this much conversation.

A clumsy, unfunny adaptation of a much-loved literary crime series

An odd attempt at genre-surfing that ends up well out of its depth.

Beneath the bro-friendly, fantasy-art trappings, Onward finds a little bit of that old Pixar magic.

Oprah Winfrey, Angela Davis and Morrison herself explore her work and legacy in this fascinating documentary completed shortly before the Nobel-winning author’s death.

Kristin Scott Thomas and Sharon Horgan saddled with a by-the-numbers script in a well-meaning but hackneyed Brit flick.

Vitalina Varela stars as herself in Pedro Costa’s bleak but beautiful film about a woman discovering the hidden life of her late husband.

It is a watchable, insouciant love story with some great incidental performances, although there is a sense of the shark being jumped 30 minutes from the end.

It is possible to come away from the film less than convinced, but very impressed by the sheer force of Petzold’s film-making talent (recently so stunning in his drama Transit) but which has been here deployed for something which is a bit flimsy and silly.